PRINTILLUSTRATED:
World Art, No. 117, issue of November 2012, Hong Kong, color illustrated
World Art, No. 117, issue of November 2012, Hong Kong, color illustrated
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Untitled
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from 2012 Ink and color on paper 32.5 x 135.5 cm Signed lower right Weihong and inscribed in Nanjing |
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Estimate
42,000 - 60,000 176,000 - 252,000 5,400 - 7,700
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Catalogue Note:
Jin Weihong, born in Jiangsu, 1967. Graduated from Nanjing Art Institute, Art Department, Major in Chinese Paintings in 1985. Now living and working in Nanjing. Her major exhibitions including Male and Female, Li Jin and Jin Weihong Ink Art Touring Exhibition, Today Art Museum, Beijing (2015); Male and Female, Poetry Calligraphy Painting Magazine's First Annual Exhibition, Shandong Art Museum (2014); An Exhibition on Jin Weihong's Ink Works, 99 Gallery, Aschaffenbury, Germany (2010); The 3th Taipei International Modern Ink Painting Biennial, National Museum of Taiwan Painting Biennial, Taipei, Taiwan (2010); Contemporary Ink Painting, Shanghai New Ink Painting Exhibition 2009, Duolun Museum of Modern Art, Shanghai (2009); Ink Painting. City, The 6th International Ink Painting Biennial Shenzhen, Shenzhen Museum, Shenzhen (2008); The 3rd Chengdu Biennale, Chengdu Gallery of Modern Art, Chengdu (2007); Hidden Fire: An Exhibition on Jin Weihong's Ink Painting, Zhu Qizhan Art Museum, Shanghai (2006); Chinese Art Today Exhibition, National Art Museum of China, Beijing (2006) etc.
The figures in Jin Weihong's paintings are surprisingly gentle and relaxed, detached from all the desires and demands of any ordinary human in the modern world. Though seemingly female they are truly androgynous, or at least they are supposed to seem so. Going against traditional painting patterns and context, their distinct loneliness is an everlasting search of the artist for ego and humanity. Sexless, and thus lonely, Jin's human figures project a personification of her own anxieties. Deprived of certain body features and sensitive details, they are cold and rational. Works like this have led the artist to engage in self-reflection, with two assembled human bodies simultaneously depending and lingering on each other's emotion. It is common for artists to mirror their own emotions in order to relieve self-anxieties. (Ref. ShanghArt Gallery Artist Introduction)
The figures in Jin Weihong's paintings are surprisingly gentle and relaxed, detached from all the desires and demands of any ordinary human in the modern world. Though seemingly female they are truly androgynous, or at least they are supposed to seem so. Going against traditional painting patterns and context, their distinct loneliness is an everlasting search of the artist for ego and humanity. Sexless, and thus lonely, Jin's human figures project a personification of her own anxieties. Deprived of certain body features and sensitive details, they are cold and rational. Works like this have led the artist to engage in self-reflection, with two assembled human bodies simultaneously depending and lingering on each other's emotion. It is common for artists to mirror their own emotions in order to relieve self-anxieties. (Ref. ShanghArt Gallery Artist Introduction)